【摘要】： 現(xiàn)代意義上設(shè)計在我國已經(jīng)有近一個世紀的發(fā)展歷史,但關(guān)于設(shè)計的歸屬問題卻始終懸而未決,有人認為設(shè)計該屬于工科類,因為設(shè)計藝術(shù)的大發(fā)展是伴隨著工業(yè)生產(chǎn)與工業(yè)革命,其中帶有工程技術(shù)的血脈;而有人則認為設(shè)計屬于以繪畫為中心的藝術(shù)范疇.因為如平面設(shè)計、廣告設(shè)計、包裝設(shè)計、室內(nèi)設(shè)計等與工業(yè)相距較遠,而與審美觀念表現(xiàn)的更為密切。然而,筆者認為隨著社會生產(chǎn)力與科學技術(shù)的不斷發(fā)展,現(xiàn)代意義上的設(shè)計藝術(shù)已經(jīng)遠遠超于工業(yè)學科,也逐漸脫離美術(shù)學而發(fā)展成為一門獨立的藝術(shù)學科,設(shè)計師和藝術(shù)家(繪畫藝術(shù))在現(xiàn)代生活中的不同意義和作用顯而易見。但縱觀設(shè)計與藝術(shù)的發(fā)展歷史,其二者在本質(zhì)上相互融合的關(guān)系更不可忽視。實質(zhì)上,實用與審美相結(jié)合賦予了使用物品物質(zhì)與精神上的雙重含義,這是人類設(shè)計活動的基礎(chǔ)或基點。 事實證明,隨著人類社會的飛速發(fā)展,藝術(shù)的內(nèi)在結(jié)構(gòu)與外部范疇都發(fā)生很多變化,后現(xiàn)代設(shè)計在諸多方面都表現(xiàn)出其反現(xiàn)代設(shè)計純粹功用性的一面,轉(zhuǎn)而強調(diào)情感體驗、個性審美、人文關(guān)懷等藝術(shù)范疇的原則。因而可以說,繪畫藝術(shù)與設(shè)計不但在其發(fā)展歷史中始終處于相互依存的狀態(tài),即便在當今社會二者相對獨立的狀態(tài)下其本質(zhì)也有很多是不謀而合的,尤其我國當代藝術(shù)的許多積極方面可以給予設(shè)計許多啟示,這正是本文所強調(diào)的重點。本文首先從繪畫與設(shè)計的歷史背景入手分析了看二者的關(guān)系,這一部分主要論述了兩個內(nèi)容——1古代繪畫與設(shè)計的發(fā)展情況,2近代繪畫與設(shè)計的發(fā)展情況,得出結(jié)論:設(shè)計從繪畫分離出來,但互為依存,相互促進的關(guān)系。然后從我國當代藝術(shù)與設(shè)計的發(fā)展現(xiàn)狀切入,分析了我國當代藝術(shù)與當代設(shè)計的發(fā)展狀況以及存在的問題:當代設(shè)計與當代藝術(shù)聯(lián)系較少,較為獨立,接下來提出來解決的辦法,即本文的重點——當代藝術(shù)中積極因素給予設(shè)計的啟示,文中強調(diào)當代藝術(shù)的一些特點:當代藝術(shù)具有的強烈前衛(wèi)性特性、當代藝術(shù)對人的生存環(huán)境與人的精神生活的深層關(guān)注、當代藝術(shù)往往具有深刻的文化底蘊及思想內(nèi)涵可以激勵當代設(shè)計的嘗試與探索、可以引導當代設(shè)計進一步突出以人為本的思想、可以促進當代設(shè)計內(nèi)涵的構(gòu)建。 在全球化語境的環(huán)境下,源于繪畫藝術(shù)的我國當代藝術(shù)與設(shè)計的相互融合是必然的,二者雖有著各自獨立的觀念與生存空間,但相互影響,共同發(fā)展,互為促進卻是藝術(shù)與設(shè)計最為顯著的特征。
[Abstract]:In modern sense, design has a history of development in our country for nearly a century, but the ownership of design has always been unresolved. Some people think that design should belong to the category of engineering. Because the great development of design art is accompanied by industrial production and industrial revolution, with the blood of engineering technology, while some people think that design belongs to the art category centered on painting. Because such as graphic design, advertising design, packaging design, interior design and industrial distance, and more closely with the aesthetic concept. However, with the continuous development of social productivity and science and technology, the design art in the modern sense has been far more than the industrial discipline, and has gradually developed into an independent art subject from the art science. The different meanings and functions of designers and artists in modern life are obvious. But throughout the history of design and art, the relationship between the two in essence can not be ignored. In essence, the combination of utility and aesthetics endows the use of goods with both material and spiritual meanings, which is the basis or basis of human design activities. It has been proved that with the rapid development of human society, many changes have taken place in the internal structure and external category of art. Post-modern design has shown its purely functional side of anti-modern design in many aspects, emphasizing emotional experience instead. Individual aesthetic, humanistic care and other artistic categories of principles. Therefore, it can be said that painting art and design not only in its development history has always been in a state of interdependence, even in today's society, the nature of the two relatively independent state, there is also a lot of coincidence. In particular, many positive aspects of contemporary art in China can give a lot of inspiration to the design, which is the emphasis of this paper. This paper first analyzes the relationship between painting and design from the historical background of painting and design. This part mainly discusses the development of ancient painting and design and the development of modern painting and design. Draw a conclusion: design is separated from painting, but it is interdependent and mutually reinforcing. Then from the current situation of contemporary art and design in our country, it analyzes the development of contemporary art and contemporary design in China and the existing problems: contemporary design and contemporary art are less connected and more independent. Then the solution is put forward, that is, the focal point of this paper, the inspiration from the positive factors in contemporary art, which emphasizes some characteristics of contemporary art: the strong avant-garde characteristic of contemporary art, Contemporary art pays close attention to people's living environment and people's spiritual life. Contemporary art often has profound cultural connotation and ideological connotation, which can stimulate the attempt and exploration of contemporary design. Can guide contemporary design to further highlight the idea of people-oriented, can promote the construction of contemporary design connotation. In the context of globalization, the fusion of contemporary art and design, which originated from painting art, is inevitable. Although they have their own independent concepts and living space, they influence each other and develop together. Mutual promotion is the most prominent feature of art and design.
【學位授予單位】：內(nèi)蒙古師范大學
【學位級別】：碩士
【學位授予年份】：2009
【分類號】：J50

【相似文獻】

相關(guān)期刊論文 前10條

1 何天泉;黃蘭;;淺析繪畫的圖像化[J];中國美術(shù);2007年06期

2 李一青;吳大羽的繪畫藝術(shù) ——恩師百年誕辰紀念[J];美術(shù)觀察;2004年06期

3 李偉力;;當代藝術(shù)的文人化——論中國當代藝術(shù)呈現(xiàn)的文人情結(jié)[J];美術(shù)大觀;2009年05期

4 肖曉陽;高校美術(shù)教育中引入現(xiàn)當代藝術(shù)內(nèi)容的意義[J];高教探索;2005年03期

5 宋偉光;;從哲學層面看當代藝術(shù)——兼及藝術(shù)的越界與解構(gòu)[J];雕塑;2009年03期

6 陳孝信;;文脈當代·中國版本[J];中國書畫;2007年09期

7 袁月;;本田藝術(shù)博物館對當代藝術(shù)的關(guān)注持續(xù)升溫[J];藝術(shù)與投資;2009年04期

8 林輝;;中國現(xiàn)當代藝術(shù)對超現(xiàn)實藝術(shù)的借用與重構(gòu)[J];美術(shù)大觀;2011年01期

9 于由;無根狀態(tài)——兼論西方現(xiàn)當代藝術(shù)哲學的價值取向[J];九江師專學報;1992年01期

10 李玲;;現(xiàn)當代藝術(shù)中的“身體”現(xiàn)象[J];裝飾;2006年12期

相關(guān)會議論文 前10條

1 楊冬;;淺談繪畫藝術(shù)的嬗變與發(fā)展[A];探索 創(chuàng)新 發(fā)展[C];2000年

2 劉翅;;徐渭繪畫藝術(shù)探索[A];2002中國未來與發(fā)展研究報告[C];2002年

3 吳艷麗;;作中國現(xiàn)實主義、現(xiàn)代與后現(xiàn)代主義繪畫流變的內(nèi)在整合邏輯探究[A];中央美術(shù)學院青年藝術(shù)批評獎獲獎?wù)撐募?011年）[C];2012年

4 聶濤;;開啟人類早期繪畫藝術(shù)的大門——論對史前繪畫起源的認識[A];山東省師范教育學會2002年度師范教育研究優(yōu)秀成果論文集[C];2002年

5 汪幼江;;關(guān)于LED等點、線光源的應(yīng)用[A];中國長三角照明科技論壇論文集[C];2006年

6 梁桂元;;福州繪畫藝術(shù)史話[A];閩都文化研究——“閩都文化研究”學術(shù)會議論文集（下）[C];2003年

7 謝元魯;;晚唐至宋初蜀中繪畫藝術(shù)的興衰[A];唐史論叢（第二輯）[C];1987年

8 趙衛(wèi)東;;繪畫藝術(shù)治療在精神分裂癥康復(fù)中的作用[A];二零零六年度全國第五次護理專業(yè)學術(shù)會議論文匯編[C];2006年

9 趙s，

本文編號：2179352